Posing for Seydou Keïta
The New York Times calls Seydou Keïta ‘a formidable figure in photography’. His oeuvre of 15.000 portraits define our perceptions of mid-century Mali. And our memories of Vlisco.
Keïta was the very first photographer to capture the notoriety of Dutch wax in Africa. In his portraits, we recognize many Vlisco designs that became popular throughout Africa such as Tomatoes, Necklace (or Akplekan) and The eye of my rival, amongst many others.
In 1948 Seydou Keïta opened his own photo studio in Bamako, the capital of Mali. The city was, at the time, a crossroads where travellers from the Ivory Coast, Burkina Faso and Nigeria stopped over en route to Dakar. His studio, in a cheap building across from the prison, became a meeting point where people of every stripe and colour were welcomed. Government officials, policemen, military, dandies, musicians, schoolkids, mothers with children, newlyweds, elderly people and babies: everyone was seated in front of Seydou’s camera in La Nouvelle Bamako.
-
Seydou Keïta’s portraiture was immensely rich in detail; he created a cosmopolitan realm for his clients to step into. Vlisco was part of this realm. Keïta installed ornately patterned backdrops, and offered customers props such as watches, pens, necklaces, sophisticated clothing and accessories, plastic flowers, a radio set, telephone, alarm clock. Even his own Vespa and Peugeot made it into the portraits. All together it created an aura of mystery, complexity and elevated status.
-
Seydou Keïta left behind a rich historical record that documented Vlisco’s growing popularity. His work remains a treasure for all of West Africa.
Seydou Keïta. Untitled, neg. 00975: 1949. Modern gelatin silver print. Courtsey CAAC – The Pigozzi Collection © Seydou Keïta/SKPEAC.
